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162:. Frans Floris, who was at the time the leading Flemish history painter, never recovered from the shock of seeing his artworks destroyed. Floris found himself in a downward spiral in both his personal and professional affairs. As Floris virtually stopped painting after 1566, a younger generation of artists seized the opportunity to take over his important position in history painting in the Habsburg Netherlands. Among these artists Maerten de Vos became the most prominent.
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383:. He also designed the illustrations for the 'Triumphus martyrum', a series of 13 prints showing martyrs of the Old Testament. Other publications on which he worked included series on the five senses, the seven deadly sins, the Christian virtues, the 12 months, the four seasons and the seven wonders of the world. De Vos provided 78 drawings for the illustrated
230:(1573), Hans Snyers (1575), Merten Boly (1577), Jaeckes Keerel (1577), Jan Adriansen Cnottaert (1584), Peeter Goutsteen (1588), Hans Cnottaert (1594), Hans van Alten (1595), Hans de La Torte (1595) and Abraham van Lievendale (1599). His two sons Daniel de Vos (1568–1605) and Maerten de Vos the Younger became painters but their work is hardly known.
223:. The Guild brought together artists, connoisseurs and humanists who had travelled to Rome and appreciated humanist culture. The diversity of the membership offered artists a good opportunity to network with potential patrons. To meet the strong demand for his work, including from foreign patrons, de Vos developed a streamlined workshop practice.
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in France. The couple had five daughters and three sons. At the time, Frans Floris was the leading history painter in
Flanders and he operated a large workshop in Antwerp. This made it more difficult for other artists to find commissions. De Vos was lucky to obtain in 1564 commissions from the rich
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in
Antwerp in 1583. Rembrandt's painting follows the portrait format in its composition and also depicts the boat in a forward tilting position. Like in the print, most of the space of Rembrandt's work is taken up by the main motif, which is the disciples on the boat struggling against the elements.
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Maerten de Vos was principally a painter of religious scenes and to a lesser extent of mythological and allegorical themes. He was also an accomplished portrait painter. In the 1580s he produced multiple designs for prints and book illustrations. Beginning with
Mannerism, his style evolved to become
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Maerten de Vos was not an innovative artist but rather an eclectic figure who borrowed liberally from
Italian masters. His work was variously indebted to one or more of the Italian painters Veronese, Tintoretto and Michelangelo, as well as to Flemish painters such as the Master of the Prodigal Son,
207:. Raphael Coxie was involved in a dispute with the Ghent magistrate, who had commissioned the painting. Coxie was of the view that the sum offered to him was too low for his masterpiece. Maerten de Vos and Ambrosius Francken were also chosen as the chief designers of the decorations for the 1594
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De Vos was a prolific draughtsman and produced numerous designs for the
Antwerp printers. These were circulated widely in Europe and the Spanish colonies and contributed to his international reputation and influence. His designs were also used as models for tapestries and stained glass windows.
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and relocated to
Antwerp where he was recorded at the age of 17 years as a pupil of Jeroom Scuelens. Maerten and his brother, also called Pieter, first trained with their father. A pupilage with the leading mid-16th century leading history painter Frans Floris has been surmised by some art
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His style was very recognizable and his iconography and subject matter were in a distinctly Contra-Reformation vein. While there was little evolution in his style his late altarpieces recall the work of earlier
Netherlandish masters, such as Maarten van Heemskerck and, in the case of the
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of the same subject (1637, Art
Collection of the University Göttingen). De Vlieger depicts the boat in a forward tilting position but he distances himself from the print by integrating the story into the seascape rather than solely focusing on the activities on the boat.
415:, Hans van Luyck and Johannes Baptista Vrints. Roughly 1600 prints were created after designs by de Vos. These were circulated widely in Europe and the colonies and contributed to his international reputation and influence. A print representing the biblical story of
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depredations of the
Beeldenstorm, which climaxed in 1566 and resulted in the destruction of a large portion of the art in Flanders' churches, de Vos became one of the artists tasked with redecorating the plundered churches with new altarpieces. Many of these, such as
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As a trip to Italy had become a rite of passage for
Flemish artists in the 16th century, de Vos travelled to Italy where he resided between 1550 and 1558. It is possible that he made at least part of his trip to the south in the company of
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His brother Pieter de Vos was also a painter and some works previously attributed to Maerten de Vos have tentatively been re-attributed to this brother or a so-called pseudo-de Vos. The so-called Marten de Vos Sketchbook (c. 1560;
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published in 1585 by Gerard de Jode. The export of this illustrated Bible by de Jode, as well as its publication in Amsterdam in a revised edition, contributed to the popularity of de Vos' illustrations throughout Europe.
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and the defeat of the Protestant cause in the Habsburg Netherlands. His career took off as he was awarded important commissions from the brotherhoods and guilds of Antwerp. De Vos executed monumental altarpieces in the
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De Vos' drawings are known for their lively and generally positive character. Romantic Italianate landscapes appear often in the background. His obvious proficiency led to a certain degree of routine formularization.
154:(Dutch for 'attack on the images or statues') raged in Flanders and reached its peak in 1566. During the period of iconoclasm, Catholic art and many forms of church fittings and decoration were destroyed by nominally
136:. It is possible that he returned to Antwerp earlier if the date of 1556 on a portrait painting is correct. He married Joanna le Boucq, whose family was originally from
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121:. He likely resided in Rome, Florence and Venice. De Vos' work shows a strong influence of the colors of the Venetians. The 17th-century Italian artist biographer
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J. Koldeweij, A. Hermesdorf, P. Huvenne, 'De schilderkunst der Lage Landen: De Middeleeuwen en de zestiende eeuw', Amsterdam University Press, 2006, pp. 262–263
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Van opdracht tot veiling, Kunstaanbestedingen naar aanleiding van de Blijde Intrede van aartshertog Ernest van Oostenrijk te Antwerpen in 1594
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265:, Amsterdam) containing copies of earlier drawings of Classical works of art has now been attributed to the circle of Frans Floris.
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He was born in Antwerp as the youngest of the four children of Peter (Pieter) de Vos and Anna de Heere. His father was born in
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De Vos was a very prolific 'inventor' and his large output was popularized and widely disseminated through engravings made by
179:, Germany. His reputation grew and in 1572 he was appointed dean of the Antwerp guild. De Vos had initially converted to the
630:(Thesis binnen de opleiding 'Kunstwetenschappen', Universiteit Gent), Promotor : Prof. Dr. Maximiliaan Mart, pp. 46–52
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Christiaan Schuckman. "Vos, Marten de." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 10 November 2020
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Raphaël van Coxcie (1540–1616): een monografische benadering toegespitst op zijn 'Laatste Oordeel'-tafereel te Gent.
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De Vos received in 1570 the commission to decorate the palatine chapel of William, Duke of Brunswick-LĂĽneburg in
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Triumphus martyrum. After Maerten de Vos (Antwerpen 1532-Antwerpen 1603). Passe, Crispijn de, the Elder
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His designs were engraved by leading engravers in Antwerp and published by the local presses including
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Patronen van patronage in het zeventiende-eeuwse Antwerpen: een elite als actor binnen een kunstwereld
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after a design by de Vos was likely the inspiration for Rembrandt's treatment of the same subject in
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and other Antwerp churches. De Vos was deacon of the Antwerp Guild of Saint Luke in 1572–1573.
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clear and descriptive, which perfectly corresponded to the ideas of the Counter-Reformation.
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in: De zeventiende eeuw. Jaargang 19. Uitgeverij Verloren, Hilversum 2003, pp. 25–54
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He died in Antwerp on 4 December 1603 and was buried on 7 December in the cathedral.
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Pieter Aertsen, and the Flemish painters influenced by Italian art referred to as
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career slumped in the second half of the sixteenth century as a result of the
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Maerten de Vos had 11 pupils between 1564 and 1599: Balten Vlierden (1564),
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and allegorical paintings and portraits. He was, together with the brothers
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into Antwerp of the newly appointed governor of the Southern Netherlands,
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Frans Floris’s Allegory of the Trinity (1562) and the Limits of Tolerance
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Upon his return to Antwerp in 1558 de Vos became a member of the Antwerp
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was appointed by the Ghent magistrate to value the painting of the
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His reputation was such that in 1589 de Vos together with
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historians but there is no documentary evidence for this.
664:, Amsterdam University Press, Antwerp, 2008, pp. 243–245
306:, were commissioned by leading Antwerp organisations.
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at Sammlungen der Georg-August-Universität Göttingen
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De Vos also made designs for the Antwerp publishers
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at the Cathedral of Our Lady in Antwerp (now in the
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54:(1532 – 4 December 1603) was a Flemish
530:Geschiedenis der Antwerpsche schilderschool
385:Bible Thesaurus veteris et novi testamenti
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676:at the Royal Museum of Fine Arts Antwerp
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596:, Art History 10/2014; 38(1), pp. 61–62
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442:was also inspired by the print for his
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375:. These included designs for the
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532:, Antwerpen, 1883, pp. 216–258
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698:Prints after Maerten de Vos
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767:Flemish landscape painters
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213:Archduke Ernest of Austria
762:Flemish portrait painters
411:, Eduard van Hoeswinkel,
119:Pieter Brueghel the Elder
37:The Incredulity of Thomas
757:Flemish history painters
48:Maerten de Vos the Elder
435:Jan and Raphael Sadeler
433:which was published by
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